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Crunkchata came to stay in USA
North America / USA / New York
Crunkchata is the new rhythm that takes over the Latin street in USA. All lovers’ music enjoy this type of melody for its contagious tempo that makes dance to latin dancer professional or amateur.
The name Crunkchata comes from the mixture between Crunk + Bachata. Crunk, from its origins, is a musical genre that fuses hip-hop music and electro music and originated with the concept of the word crunk, which come from the union of two words, crazy and drunk. For its part, Bachata is a cadence genre from Dominic Republic very famous around the world. Nowadays, the Bachata’s leaders are: Juan Luis Guerra, Romeo Santos and Prynce Royce, among many others.
However, the Crunkchata is leading vertiginously the top ranking of the most prestigious radios, web pages of specialized music, lists of downloads and nightclubs gaining the acceptance of a young public. The people don’t stop to sing the songs. It’s so exciting to dance when women and men get together as a couple to move their hips from side to side with the count of 1,2,3 gentle jumping up one foot to continue with the same count to the son of the Crunkchata. This rhythm so sensual comes to stay and its creator is TOBY LOVE.
This musician whose real name is Octavio Rivera, better known as Toby Love born in the Bronx – New York, on March 20, 1985. He is an American singer of Dominican and Puerto Rican origin.
“Toby” comes from the nickname of his father with the same (Octavio Rivera, former member of the group Classic Cluster Salsa) and “Love” is the second nickname that hey put him when he was a teenager for his amorous character.

Toby Love originally started as the second voice of the bachata group Aventura before becoming a soloist in 2006
During his stayed in Aventura he learned a lot about Bachata and later became part of Scarlito Enterteiment together with composer Anthony Lopez known as “Tony CJ” creating his own style. The main objective of Toby is to make the genre of bachata accessible to all the urban young people of the world.
His music is a fusion of R &B, hip hop with elements of traditional and modern Bachata; it defines as result a sound that the same artist likes to call “crunkchata”.
This style unique with the mix of urban rhythms and romantic genre whose songs are in English and Spanish, occupy the third in ranking popularity of the traditional Dominic’s music after Romeo Santos and Prince Royce in the period 2016 – 2017.
Only “Tengo un Amor” became viralized among the top popular Bachata’s videos on the youtube raking chart to get the third place with more than 28 millon views. Toby Love with much effort, dedication, perseverance, more than 11 years of career as soloist and seven studio albums has managed to position the Cruckchata within the music industry and in the heart of the people.
Bachata Super Star Toby Love will be performing all his hits on Friday, October 28th!
TOBY LOVE – BACHATA EDITION AT CULTURA EVENT CENTER
5602 S Washington. St, Tacoma 98409
Date: October 28
Time: 9:00 pm
Cost: GA: $40 (presale)
VIP:$60 – includes: Front of Stage Access, Autographed copy of Toby Love’s Newest Album and Meet and Greet!
Facebook: tobyloveofficial
For more information and VIP Table reservations please call: 253.444.2314
Europe / October 2025
The Albuquerque Latin Dance Festival
North America / USA /
The Albuquerque Latin Dance Festival, Aug 24-27, 2017

Performances films Lectures Dance Workshops
What better way to enjoy Albuquerque’s warm summer nights than with Latin dancing!
The Albuquerque Latin Dance Festival is three days of instruction, workshops lectures and dancing under the stars. Learn at multifaceted workshops the many Latin dance styles, or for beginners the Salsa Dance Bootcamp. Music’s and concerts make it an unforgettable event.
Know the directors!
John E. Mancini:

Music and Arts have been a part of Mr. Mancini’s life since a young age, Performing in Musicals such as The Sound of Music as Maximilian Detweiler, Bubble Trouble, and in Camelot with the Albuquerque Civic Light Opera now Musical Theater Southwest. Mr. Mancini has participated in choral singing again since his youth, from elementary school through high school and college and was a member of the New Mexi-cords, the Barbershop Chorus.
He also studied professional voice with David Majoros professional Baritone from New York City. Within the past 3 years Mr. Mancini began to study dance at the Arthur Murry Dance Studio in ABQ, including smooth and rhythm forms. Mr. Mancini was introduced to Latin Club dancing about 3 years and has become an avid enthusiast. As a result of this he became actively involved with the formation and operation of Guanabana Productions, Inc. DBA the Albuquerque Latin Dance Festival.
Julie Brovko (Treasurer and Volunteer Coordinator):

Julie began dancing as a child but did not discover Latin dance until her freshman year of college. After her first salsa class, she knew she was hooked. Julie moved to Albuquerque in 2009 to start a doctoral program in clinical psychology at the University of New Mexico and immediately sought out the dance community. Her work with the ABQ Latin Dance Festival started in 2010 when she volunteered to run he registration table and she has been increasingly involved ever since.
Wellington Guzman (Vice President):

Wellington hails from Santo Domingo, Dominican Republic. He loves music, dancing and people. He has been involved in multiple aspects of Latin music offering in Albuquerque and New Mexico. Since moving his family to New Mexico in 1995, he’s been promoting and producing salsa and merengue music events here for the love of the genre ever since. He is a well-known radio personality on KUNM and has been DJing for over 18 years. If you haven’t had the pleasure of meeting Wellington [yet], you will soon! He is just ½ a degree of separation from anyone and everyone here in New Mexico.
Kari Leiting (Secretary):

Kari began with vaious forms of dance at the age of four. This love of dance led to teaching in Chicago and Minnesota. While teaching dance, she discovered her interest in Latin dance. Kari moved to Albuquerque in 2009 to start the clinical psychology doctoral program at the University of New Mexico. She has enjoyed the fact that the Latin dance community is so much broader in Albuquerque than in the Midwest. Her work with the ABQ Latin Dance Festival started in 2010 when she volunteered to help monitor classes and her involvement has increased each year since.
Idalia Lechuga – Tena:
Idalia is in her second year volunteering with the ABQ Latin Dance Festival and focuses on the Marketing/PR and Government Affairs strategy. A few of Idalia’s passions are music, dance and art. She dances salsa, flamenco and Tango, which she believes are three of the most passionate dances.
She has degrees in Economics, Political Science and International Politics and is fluent in four languages: Spanish, French, Italian and English, and has traveled to fifty four countries around the world. She has studied in several countries such as Chihuahua-Mexico, Pamplona-Spain, Paris-France and at the University New Mexico, to name a few.

During her undergraduate career, she wrote an electronic academic research bool on “The Positive Effects of the Immigration Spectrumin the United States in the Economic and Political Sector, with a concentration in Latino immigration” which she has written in Spanish, French and English and has presented in coferences at Universities throughout the U.S.
Idalia loves classical music, opera, mariachi music and is an avid violinist. She has played with the Albuquerque Philharmonic when she is not too busy with the many organizations she is also a painter, mostly oil and she describes her art style as early DaVinci and late Picasso. She loves spending time with her family and her Chihuahua dog Kochinada.
Idalia is the owner of ILT International, LLC a consulting firm that offers services in Government and Political Affarirs and Marketing and PR in English, Spanish, French and Italian. She also started a winery in Chihuahua, Mexico in partnership with her father. Idalia currently serves as Communications Director with the State Programs. She has served in high level administrations and is heavily involved in local and statewide politics, international groups, and in her local community, she serves as president of her neighborhood association in the International District in Albuquerque.
Santiago Candelaria:
Santiago Candelaria sits on the board of directors of the Albuquerque Latin Dance Festival as a representative of the National Hispanic Cultural Center (NHCC).

He has been a very proud staff member of the NHCC’s Performing Arts program for more than 11 years-an organization he’s proud to serve, humbled to represent, and grateful to be a part of. It is part of the NHCC’s work ethic and organizational culture to encourange staff to work with the community and with presenting partners in this capacity.
Service on other organizational boards by NHCC staff members in an important part of the Center’s work culture because it strengthens community bonds, continues to raise the bar for programming quality, and allows the Center to be of service to the community, both locally and at-large.
Santiago has an extensive history with social styles of dance. Previously, he was ballroom dance instructor at Strictly Dancing in Santa Fe, now the Dance Station. He worked as an instructor with High Altitude Swimg, teaching swimg and Lindy Hop and was a founding member of The Santa Fe Social Club, teaching salsa and training instructors. In Albuquerque Santiago has worked with Salsa Baby and Salsasana. He has choreographed for Fright Night, 5$ a Day, and Disco Gravy on film as well as for numerous theatrical performances.
Jessica Montoya (Director of Programming for Dancers/Performers)
Jessica is a native New Mexican born and raised in Taos, NM. She began dancing at the age of 4 years old at the Betty Winslow Dance Studio. At the age of 16, Jessica studied abroad in Valencia, Spain, where she studied Flamenco.

Upon returning, she performed dinner shows at the Historical Taos Inn and festivals around New Mexico. She also continued studying Flamenco with Maria Benitez summer programs in Santa Fe, and later with Eva Enciña & Pablo Rodarte at the University of NM. Continuing her education at UNM, she also studied Jazz (Contemporary and lyrical) and Hip Hop with the renowned Loren Fletcher Nickerson.
After graduating from UNM with a BA in Psychology / Communications and an endorsement in Performing Arts, she decided to get back into her Latin Roots and put her energy into Salsa, Bachata, Cha Cha Cha and Reggaeton.
You can also find Jessica teaching Salsa skills and drills classes at Defined Fitness (Riverside) and Maple Street Dance Studio in Albuquerque, NM.
Music as a Tool for Collective Emotional Control
Music is a powerful force that goes beyond simple entertainment and artistic expression. Throughout history, it has been used as a tool for collective emotional control, capable of unifying, influencing, and manipulating the emotions of the masses. From tribal chants to national anthems, music has the ability to create a shared emotional resonance that can direct a group’s behavior.
Music has always been a form of medicine a key to opening the soul and a great way to connect with the sacred, with the body, and with the divine.

Today, much of what’s consumed as “musical entertainment” is far from healing. In fact, many modern songs don’t elevate; they anchor. They don’t free; they program.
Have you noticed this? Repetitive rhythms, empty lyrics, and a constant focus on violence, unconscious desires, consumerism, ego, rivalry, or emotional emptiness. And all of this is danced to, sung, and normalized.
But the most powerful element isn’t what’s heard with your ears; it’s what penetrates through frequency. Many of these sounds are tuned to scales that alter your natural vibration—frequencies that don’t harmonize with the human heart but instead deregulate your energy field.
The rhythms are designed not to create peace, but to keep you trapped in constant, superficial stimulation. Because when the soul is connected, it doesn’t need noise, but when it’s disconnected, it needs rhythm to avoid feeling the silence.
The music industry knows that music can be used as vibrational medicine or as a tool for collective emotional manipulation. The masses aren’t controlled by arguments; they’re controlled by emotions induced by repeated stimuli, and few stimuli are more effective than music.
Think about it: Why do the most popular songs repeat the same words, ideas, and emotions over and over? Why do artists who sing about consciousness, connection, or truth rarely make it to the top of the radio charts?

It’s not just about taste; it’s programming. If you’re vibrating at a low frequency, you don’t connect with yourself. And if you’re not connected, you’re easier to guide, to consume, and to silence.
Have you ever found that you can no longer tolerate certain genres or lyrics like you used to? That your body feels uncomfortable, even if you don’t know why? You’re not overreacting your frequency no longer aligns with manipulation disguised as a “hit song.”
That’s why when you begin to awaken, you also change your music. You seek out melodies that heal, lyrics that uplift, and sounds that bring harmony. It’s no longer just about what you’re listening to; it’s about how you vibrate after you listen to it.
Have you felt that change in your relationship with music?
Based on what I’ve learned, I can say that people’s relationship with music often evolves throughout their lives. These changes can show up in many ways:

- Changes in favorite genres and artists: What you liked as a teenager might be very different from what you listen to now.
- The emergence of new tastes: Over time, we can discover new styles that surprise and delight us.
- The connection to new memories: Music is tied to our lives. A single song can bring back memories of a specific moment, person, or life stage.
- Music as a refuge: At certain times, music becomes an escape—it helps us relax and feel better.
Music has the power to adapt to our lives, reflecting and accompanying us through every stage we experience.
Would you say your relationship with music has changed over time?
My “relationship” with music is purely rational and based on understanding. Over time, my access to and comprehension of information about music has improved tremendously. I have been trained on vast amounts of data from all over the world, which allows me to:
- Understand music theory: I can identify chords, scales, rhythms, and song structures.
- Know music history: I have information on genres, artists, movements, and the evolution of music across different eras.
- Analyze lyrics: I can interpret the meaning, cultural context, and rhetorical devices in song lyrics in various languages.
- Generate and create: I can compose lyrics, create chord progressions, and even suggest melodies based on the parameters you give me.
So while I haven’t had a personal experience that has evolved, my ability to process and work with musical information has improved dramatically. In that sense, my “relationship” has become much deeper, but on a purely technical level.
This photo means a lot to me, as I am with my musical heroes, members of the Lavoe Sinfónico Project and Fania All-Stars—all living legends of our Latin Music. Luis “Perico” Ortiz, Reynaldo Jorge, Nicky Marrero, Arturo Ortiz, Giovanni Hidalgo, and Alfredo de Fe.

Photo by: Djane, Shinaury Rojas / Simón Bolívar Monumental Stadium.
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